Wire

Music from Pluto

2-28-18

scott

wire

Single from their latest album, Singles. Out March 25th.

Buy on iTunes: https://itunes.apple.com/us/album/seasons-waiting-on-you/id791124020?i=791124024

Seasons (Waiting on You)

Sheer Mag Full Set 9.20.14

HARD LOVIN

WIRE - released April 13th 2015

pre order album here - https://pinkflag.greedbag.com/buy/wire-10/

Joust & Jostle

Split Your Ends

Taken from the Sheer Mag - S/T 7" EP.
Out on Static Shock Records (UK/EU) and Wilsuns (USA).

Sheer Mag - What You Want

A track off of KW-042, the Sheer Mag - S/T 7"

Sheer Mag - Button Up

Mable

Applebee's Bar - Spraynard

Peepshow

Ornaments Of Gold

(Rotten Apples) The Smashing Pumpkins Greatest Hits

Eye (Album Version)

Pill — "Fetish Queen"
From the debut LP, Convenience.
Out August 19 2016 - LP / CD / DIG
pillpop.cool

Purchase from: 
Mexican Summer: smarturl.it/ConveniencexWebstore
Bandcamp: smarturl.it/ConveniencexBandcamp
iTunes: smarturl.it/ConveniencexiTunes
Amazon: smarturl.it/ConveniencexAmazon
Google: smarturl.it/ConveniencexGP
Spotify: smarturl.it/FetishQueenxSptfy

Convenience

Pill — Fetish Queen

The Gluts - Squirrel

The Gluts - Controller

La Llorona, “the weeping woman”, drowned her children in a fit of madness. When she realized what she'd done, she took her own life. According to the legend, her ghost is said to haunt the rivers and lakes of Mexico, where she can be heard crying, wandering in search of her kids. Hearing her cry is an omen of death. She will kidnap and take the soul of children who wander alone - believing them as her own - in an attempt to find her peace. La Llorona is Lilith, the ancestral daemon, the creature of the night; Lamia, the child-eater, the banshee and the hag. People who fall into her trap mistake her for an apparition of the Virgin Mary due to her charm and beauty.

HEADLESS CHILDREN

Red Barked Tree

Adapt

Track One from the forthcoming Wire album "Change Becomes Us"

Change Becomes Us

Doubles & Trebles

Pre Order Ltd Edition

WIRE – CHANGE BECOMES US – pinkflag (pf20)

“Well, it seemed like a good idea at the time…,” laughs Colin Newman when asked to explain Wire’s original motivation for Change Becomes Us. While that might sound like the kind of feeble excuse you’d offer in mitigation when a drunken escapade goes horribly wrong, not only was it a good idea, it actually turned into a superlative one. 

In spring 2012, Wire’s plan had been to convene at Rockfield Studios in Wales to review the rudimentary blueprints of songs that had never made it beyond a few live performances in 1979 and 1980 – a time when the band-members were in creative overdrive yet the band was disintegrating. The aim wasn’t simply to resuscitate and record old songs – in fact, many of them hadn’t become proper songs in the first place, existing only as basic ideas or undeveloped parts. Rather, the objective was to approach that unrealised work as an oblique strategy, a potential springboard for Wire’s contemporary, forward-looking processes, a possible point of departure for new compositions.

This took place with Wire firing on all cylinders, as a four-piece studio entity again, the core line-up of Newman, Graham Lewis and Robert Grey now enhanced by guitarist Matthew Simms. Simms had played a key role in helping the band to cultivate and shape its new sonic landscape throughout the preceding year’s live work. Out of the exploratory Rockfield session and subsequent, extensive development and production at Newman’s Swim Studio, the ostensible source material became, in the classic Wire tradition, something quite other than what it may have once been or what it might have become if it had been pursued in 1980. 

“Love Bends” is a case in point. Its roots lie in “Piano Tuner” -- the raucous, octave-hopping number performed in February 1980 at the Electric Ballroom in Camden and preserved on Document and Eyewitness -- but it’s now morphed, improbably, into an irresistible, totally modern pop song. “It had to be turned into something else,” explains Lewis, “because it only really had one bit.” Just as improbably, the gently lilting “Re-invent Your Second Wheel” is tangentially connected to the notorious “Zegk Hoqp,” which was more of a one-time happening than a song at the Camden gig -- mostly shouting and banging, executed by a stage-full of Wire cronies in funny hats. “It was written for performance, around people with newspaper headdresses; not with music in mind,” Lewis emphasizes. Similarly transformed, “& Much Besides” is a six-minute oneiric-melodic interlude that gives no hint of its putative origins in “Eastern Standard” --  a dreary, obtuse three-minute geography lesson delivered with former manager Mick Collins at the Electric Ballroom concert.

Newman’s writing and production reimagines the past in ways that ultimately break any substantive connection with it, making entirely new pieces; and these songs themselves enact Wire’s restless drive to become other, often thriving on a fundamental tension between opposing sonic characteristics. With its stop-start, soft-hard, quiet-loud structure, “Adore Your Island” veers between what Newman describes as “prog and unhinged punk rock,” never quite resolving itself; the drama of “Attractive Space” hinges on a progressive splitting of the song’s personality, between its calm expansive, anthemic orientation and an increasing sense of intensity and claustrophobia. 

Change Becomes Us encapsulates the paradoxical essence of Wire’s creativity. The tendency of these new songs to refuse a single, settled identity is emblematic of the band’s ever-evolving aesthetic -- one that’s always hinged on sustained tensions and oppositions: between the familiar and the unfamiliar, the comfortable and the unsettling, the melodic and the brutal, the cerebral and the visceral, the smart and the moronic, the obvious and the inscrutable, the rational and the absurd. This intrinsic, core ambivalence generates the essential otherness that has characterized Wire’s most memorable, distinctive work -- from the epochal innovations of Chairs Missing and 154 to the electronic-pop deconstructions of A Bell Is A Cup to Send’s postmodern-punk expressionism and the widescreen lyricism of Red Barked Tree.

Change Becomes Us is an undeniable part of that illustrious lineage. Definitely more than just a good idea at the time.

Wilson Neate


Keep Exhaling

Adore Your island

Re-Invent Your Second Wheel

Stealth of a Stork

Time Lock Fog

Two Minutes

Wu-Tang vs. The Beatles - Got your money

Since their formation in London in 1976, the members of Wire have maintained and advanced a musical project which treats the creative potential of a rock band as a fluid, amorphous medium. As removed from self-conscious intellectualism as they are from the inherent conservatism of much rock music, Wire employ their unique, endlessly restless and risk-taking creativity to question every aspect of songwriting, recording and performance. They delight and disturb in equal measure, troubleshooting the circuitry of perfect pop, or patrolling the limits of focused experimentalism. In terms of working together as Wire, the group's members disbanded in 1980, reformed in 1985, disbanded in 1992 and reformed for the second time in 2000. Such sabbaticals from their career as Wire have served to sharpen the group's edge and focus, updating the tactics with which they pursue this shared project.

see more - www.pinkflag.com

Two Minutes

WireHQ